The Museum of Modern Art
Technicolor Tests (1933–1936, compiled 1954) | MoMA FILM VAULT SUMMER CAMP
updated
Here are some more of the questions that we will ask: How can we guarantee agency over our future? Should we join the wave of neo-Luddites? Is this version of opting-out the only option? Given how much of our lives are built around technology, is it even an option? Does our ability to connect with others and advance our careers depend too heavily on technology to allow us to opt-out? Is progress for the sake of progress sustainable? What is progress? Why are so many people craving earlier modes of existence? Does a perfect point of technological development exist? Is nostalgia a feeling that can be trusted? Should technological progress be controlled by corporations alone? What did Covid teach us about the mutability of our mode of existence?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Stefan Andriopoulos: Professor of German and co-founder of the Center for Comparative Media at Columbia University.
Kevin Munger: the Jeffrey L. Hyde and Sharon D. Hyde and Political Science Board of Visitors Early Career Professor of Political Science and Assistant Professor of Political Science and Social Data Analytics at Penn State University.
Logan Lane: the founder of the Luddite Club in Brooklyn, NY.
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The comments and opinions expressed in this video are those of the speakers alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#design #art #museumofmodernart #moma #museum #modernart
Moran and Jonas are almost like family, with close to twenty years of collaborative experience. While performing on his piano at home, he reflects on how their musical kinship has impacted his work’s purpose.
“Joan is like everything to me,” he says. “Joan listens to your stories and then she tells them back to you in another way. My role is to reflect the world that you don't get to see, and if I get a chance to show it to you through sound, then maybe you'll understand it a little better.”
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#performanceart #jazzpiano #joanjonas #jasonmoran #improv #art #museumofmodernart #moma #museum #modernart
The artist Martin Wong bridged the graffiti art, poetry, and gallery scenes; his drawings and paintings depict the streets and characters around him on the Lower East Side of New York City, where he moved in 1978. It was a period of creative liberation but also financial struggle and the rise of the AIDS epidemic. Wong was a magnetic figure on the underground scene: openly gay, generous, and wildly creative. Whenever he sold work, he put the money back into supporting other artists, building an enormous graffiti art collection (what he called “aerosol hieroglyphics”), which he showcased in his short-lived Museum of American Graffiti. “We might see his work in the same kind of constellation as Keith Haring or Jean-Michel Basquiat –– art that was often both for and about public space, the street,” explains curator Michelle Kuo.
Wong’s “Houston Street,” 1986 is a major work. At eight by thirteen feet and hung to touch the ground, it forms an eerie trompe l'oeil double of the rolling gates that secure shops at night along the block that it is named for. When the painting recently entered MoMA’s collection, its stretcher had to be replaced and conservators and curators had a chance to study something they only had an inkling of: a painting on the back. In 1983, Wong painted the thirteen-foot length of the back of the canvas in his signature brick-by-brick, and then asked his friends, graffiti artists Sharp and Delta 2, to spray paint over it, tagging it like a real wall. At the bottom, he signed it as a collaborative work by all three artists, making explicit his passion for supporting graffiti art, as under-recognized as it was then and still to this day. “Even if it's not totally intentional,” Kuo says, “the idea that you would look at the front of the painting, this blocked metal wall, and then this secret on the other side is this whole other universe.”
00:00-01:21 Introducing Martin Wong
01:21-2:28 "Houston Street" 1986 in conservation
2:28-3:46 Discovering the back of the painting
3:46-5:20 Graffiti artist Sharp's history
5:20-7:08 Martin Wong in the downtown art world
7:08–8:13 The Museum of American Graffiti
8:13–9:07 Missing paintings
9:07-10:40 Martin Wong's studio apartment
10:40-11:50 Discoveries in the archives
11:50-13:20 Martin Wong's death
13:20-13:42 Stretching the painting
13:42-15:12 Martin Wong's legacy
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Image credit correction: Patti Astor and Futura 2000 at the Art & BBQ Party, 1981 © Anita Rosenberg
#martinwong #graffiti #graffitiart #newyorkhistory #lowereastside #artdocumentary #documentary #queerartist #art #museumofmodernart #moma #museum #modernart
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#feminism #feministart #womenshistorymonth #womenshistory #art #museumofmodernart #moma #museum #modernart
Kollwitz develops and abandons entire compositions as she revises the work, deepening her focus on the woman and intensifying her emotion and strength. As Kollwitz works, we sense her resistance to tropes (a male figure helping the woman, for example) and her painstaking search for the clearest possible message.
You can see the different editions of this print in person in the exhibition Käthe Kollwitz, on view at MoMA March 31–July 20, 2024. moma.org/calendar/exhibitions/5625
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#drawing #printmaking #creativeprocess #animation #kathekollwitz #kollwitz #art #museumofmodernart #moma #museum #modernart
How can art draw our attention to an individual's role in environmental rights and activism? Hear how two MoMA staff members reflect on what this work whispers about “small acts of the everyday that are saturated with both personal and collective meaning.”
“What if we started looking at nature as something that's looking back at us? Could we pay more attention to its signals, respond to its needs, and even acknowledge its rights to be protected?”
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#environmental #installationart #activism #fishingnet #indigenous #art #museumofmodernart #moma #museum #modernart
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#art #museumofmodernart #moma #museum #modernart
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#joanjonas #performanceart #videoart #newyorkcity #soho #art #museumofmodernart #moma #museum #modernart
Self-proclaimed the “Friendliest Black Artist in America©,” Pope.L was beloved by many for his work’s satire and social critique. In the wake of his unexpected passing on December 23, 2023, Peacock discusses this video piece’s influence. “It brings up a really large question around what is heroic, who can be considered super,” he says. “I think Pope L. Is really taking up a position of saying, well, maybe I am. Maybe we are. Maybe anyone can be.”
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#performanceart #satire #popel #tribute #newyork #art #museumofmodernart #moma #museum #modernart
These are some of the questions we will ask: What is grace in a social context? What does it then mean to display grace collectively? Should we be graceful as democracy is threatened and divisions across political party lines have intensified? Are their instances in which more knee-jerk, vehement reactions are preferable? Is there a connection between this concept and soft power? And non-violence? When does grace turn into acquiescence? Should we, as a society, react gracefully to the pressure of reckoning with the climate catastrophe and ecological devastation we have wrought upon ourselves and our planet?
The complexity and density of our interconnectedness is operating at a planetary scale with planetary consequences. For the first time, we are inextricably linked by each of our individual actions which cascade and multiply through a network of compounding consequences. Under this unparalleled contemporary condition, what is grace under pressure?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Leonardo Bravo: is the Director of Public Engagement in the Department of Learning and Engagement at the Museum of Modern Art.
Willie James Jennings: is Associate Professor of Systematic Theology and Africana Studies at Yale Divinity School and an ordained Baptist minister.
Bill T. Jones: is an artist, choreographer, dancer, theater director, writer, and co-founder of the Bill T. Jones/Arnie Zane Dance Company.
Cameron Russell: is an American supermodel, activist, and organizer.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 47 by: Ocean Ramsey, Verna Kale, Mark McLaughlin, and Astrida Neimanis.
This video contain profanity.
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#design #art #museumofmodernart #moma #museum #modernart
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#blackartsmovement #blackhistorymonth #blackhistory #art #museumofmodernart #moma #museum #modernart
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#conceptualart #art #museumofmodernart #moma #museum #modernart
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#AIDS #AIDSactivism #art #museumofmodernart #moma #museum #modernart
“The back of the painting really acts in a way like its passport. A work like this really shows you, even if it's a single artist who produces the work, there are so many other people who are involved in that painting's life.”
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#arthistory #pablopicasso #picasso #worldwar2 #art #museumofmodernart #moma #museum #modernart
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#mexicanmuralism #diegorivera #history #artterms #art #museumofmodernart #moma #museum #modernart
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#meditation #guidedmeditation #colormeditation #healingfrequencies #stressrelief #wellness #modernart #art #museumofmodernart #moma
Here are some of the questions we will ask: How has our perception of scale changed over time? How have scientific milestones contributed to that shift? What shifts will come next? What is our place in the universe? How can we fully come to terms with its scale? Are we in a crisis of perception? With the ever-increasing complexity of our world, will we ever be able to fully comprehend it? Do we even need to? Should our actions depend upon this comprehension? How can we grapple with phenomena such as the climate crisis? In what ways has scale become an issue of complexity over size? How do we understand scale in terms of both time and space?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Alexandra Amon: is a cosmologist who uses large-scale surveys of galaxies to study the structure of the universe and is Assistant Professor of Astrophysical Sciences at Princeton University.
Susan Buck-Morss: is a trans-disciplinary scholar with interests in critical theory, philosophy of history, and trans-local global commons and is Distinguished Professor of Political Science at The Graduate Center, CUNY.
Jamer Hunt: collaboratively designs open and adaptable frameworks for participation that respond to emergent cultural conditions and is Professor of Transdisciplinary Design at Parsons School of Design.
Trevor Paglen: is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 46 by: D. Graham Burnett, Dipesh Chakrabarty, Simon Denny, Olafur Eliasson, Mike Hulme, Hannah Landecker, Laura U. Marks, Jussi Parrika, Jonas Staal, Elaine Scarry, and Annabel J. Wharton.
MoMA R&D is made possible by Allianz.
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#design #art #museumofmodernart #moma #museum #modernart
What artists come to mind when you think of Surrealism?
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#surrealism #magritte #art #history #museumofmodernart #moma #museum #modernart
Hear how Pablo Picasso’s Cubist masterpiece “Three Musicians” makes jazz musician Jerome Sabbagh contemplate performance, experimentation, and mastery. Where you come from and your prior knowledge don’t have to define you. “There's something about art or music, any art form at a really high level, that I think speaks to people in ways that they might not completely understand,” Sabbagh says, “I think that's what makes art universal.”
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#pablopicasso #picasso #milesdavis #jazzmusician #cubism #art #museumofmodernart #moma #museum #modernart
Learn more about SEL and teaching with art in MoMA's new Coursera Specialization: coursera.org/specializations/teaching-with-art
Enroll in MoMA's other courses about art and design on Coursera: coursera.org/moma
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0:00–0:47 A social worker's intro
0:47–2:15 What is SEL?
2:15–3:13 Art as a tool for SEL
3:13–5:34 Lesson 1: Connecting emotions to Monet's "Waterlilies"
5:34–8:18 Lesson 2: Perspective-taking and Kirchner's "Street, Dresden"
8:18–10:27 Lesson 3: Social awareness and Kingman's "Los Chucchidores"
10:27–12:17 Integrating SEL into your life
The comments and opinions expressed in this video are those of the speaker alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
The Adobe Foundation is proud to support equity, learning, and creativity at MoMA.
#socialemotionallearning #SEL #socialemotional #arteducation #art #museumofmodernart #moma #museum #modernart
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#sustainablearchitecture #greenarchitecture #architecture #sustainability #emilioambasz #art #museumofmodernart #moma #museum #modernart
Hear how an archivist and exhibition photographer connect these entangled histories to their personal experiences of being Black and from the South and first generation Filipino-American, respectively. “The artist wants to remind us that memory flows, memory is constant, history is constant, and those things are shared.”
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#immersiveexperience #blackandwhitephotography #panorama #darkhistory #art #museumofmodernart #moma #museum #modernart
These are some of the questions we will ask: With so much of the food we eat relying on the ingredient of eggs, what are the potential consequences of their scarcity? Can the egg be a tool to lift people out of poverty? Can they ever become scarce? What are the many manifestations of the egg as a semiotic gateway? What can we learn from the ways in which the use of eggs changes across cultures? What can engineering and material science learn from the egg shell? What can nature teach us about efficiency in design? What is perfection? How is motherhood defined? Can the value of an egg cell be defined, and who should benefit from it? Is there a point at which human intervention in the process of reproduction becomes unethical? What is the role of the egg in the narration of evolution? And in the process of transformation?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Roger Benson: is the Macaulay Curator and the Curator-in-Charge of Fossil Amphibians, Reptiles, and Birds and Fossil Plants in the Division of Paleontology at the Natural History Museum in New York.
Camille Henrot: is a French artist who lives and works in New York City. Over the past twenty years, she had developed a critically acclaimed practice, encompassing drawing, painting, sculpture, installation and film.
Lori Gruen: is the William Griffin Professor of Philosophy at Wesleyan University where she coordinates Wesleyan Animal Studies. She is also Professor of Feminist, Gender and Sexuality Studies and Science in Society.
Camari Mick: is the Executive Pastry Chef at The Musket Room, a Michelin-starred restaurant in Manhattan’s Nolita neighborhood, and Executive Pastry Chef/Partner at the newly opened Raf’s, a French and Italian bakery, restaurant, and all-day café.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 45 by: Tim Birkhead, Chow and Lin, Amander Clark, Teman Evans, Ashanté Reese, Emelyn Rude, Mary Caswell Stoddard, and Nicola Twilley.
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#design #art #museumofmodernart #moma #museum #modernart
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#puertorico #boricua #brooklyn #spokenword #poetry #art #museumofmodernart #moma #museum #modernart
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#EdRuscha #screenprinting #chocolateart #makingof #chocolate #behindthescenes #art #museumofmodernart #moma #museum #modernart
“That’s what I like to explore in my art… shifting perspective so that those who don’t have power in our world are the ones that are seen as powerful.”
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#mexicanamerican #motherandchild #wifredolam #catholicism #art #museumofmodernart #moma #museum #modernart
These are some of the questions we will ask: How does participation in required team sports affect a child’s development in both positive and negative ways? How do team sports reinforce societal and gendered norms? In what ways can they instead be used to challenge those norms? What does it mean to be a good team player, within and without sports? How do our experiences as a part of teams impact our subsequent social relations? Should we adopt a more team-centric outlook in our daily lives, prioritizing collective over individual goals? How does the participation in or the watching of sports contribute to the formation of our individual identities?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Tracie Canada: is an Assistant Professor of Cultural Anthropology and is affiliated with the Sports & Race Project at Duke University. As a cultural anthropologist and ethnographer, she researches and teaches about race, sport, kinship, and the performing body with a focus on the lived experiences of Black football players.
Simon Critchley: is the Hans Jonas Professor of Philosophy at the New School for Social Research working in areas such as continental philosophy, philosophy and literature, psychoanalysis, ethics, and political theory, among others. One of his most recent books include What We Think About When We Think About Football.
Gabriel Fontana: is an independent designer and creative director investigating how our bodies propagate, internalize, and reproduce social norms with particular attention to how they can be unlearned through new forms of pedagogy, activities, and games that deconstruct group dynamics.
Bobbito Garcia: is a radio host, filmmaker, and basketball enthusiast who has worked across multiple urban movements. A former professional basketball player in Puerto Rico, he currently produces his basketball tournament Full Court 21 in four continents.
Collette V. Smith: is the NFL’s first black female coach as well as the NY Jets’ first female coach. She formerly played football professionally for the NY Sharks. She has since founded Believe N You, Inc., which strives to empower young African American women across the country.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 43 by: Ben Carrington, Brenda Elsey, Sergio Galaz-García, Christopher J. Philips, Maggie L. Popkin, Sayuri Gurthie Shimizu, Carlin Wing, and Emma Witkowski.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 43 by:
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#design #art #museumofmodernart #moma #museum #modernart
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#art #museumofmodernart #moma #museum #modernart
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#etching #printmaking #printing #printingprocess #art #museumofmodernart #moma #museum #modernart
Some of the questions we will ask: What can previously overlooked traces tell us about past people, places, things, and events? What new forms of knowledge can be produced by paying attention to those traces that we previously looked past? How must we rethink the representation we trust to hold truth in the current age of falsification? What new literacies must we develop to become more attuned to the latent yet unseen traces around us? Does every object, event, or person leave a trace? How can we learn to see the unseen? Can knowledge about the traces left behind be more impactful than knowledge about the thing itself? How can we become more aware of the traces we leave behind, whether they are social, emotional, environmental, ecological, etc?
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Crystal Z Campbell: is a multidisciplinary artist, experimental filmmaker, and writer of African American, Filipino, and Chinese descent. Campbell engages with material, archival, and sonic traces of the witness through film/video, live performance, installation, sound, painting and texts.
Sarah Johnson: is a biologist, geochemist, astronomer and planetary scientist whose research is driven by the underlying goal of understanding the presence and preservation of biosignatures within planetary environments.
Susan Meiselas: is a documentary photographer and the President of the Magnum Foundation whose work constantly considers the challenging relationship between photographer and subject, and the relationship of images to memory and history.
Jorge Otero-Pailos: is the Director and Professor of Historic Preservation at Columbia University’s Graduate School of Architecture, Planning, and Preservation, and an architect, artist, and theorist specializing in experimental forms of preservation employing the material residues of our modernity to render their invisible meanings visible.
Christiaan Triebert: is a journalist with The New York Times’ Visual Investigations team, which combines traditional reporting with digital sleuthing and open source methods. He was a senior investigator and lead trainer at the investigative group Bellingcat and worked throughout Africa, Asia, Europe and Latin America.
MoMA Research & Development provides information and critical tools to identify and explore new directions and opportunities for MoMA and the broader museum field. Learn more: http://momarnd.moma.org/salons/.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 43 by: Katja Heitmann, Stefan Helmreich, Jorge Otero-Pailos, Lawrence Abu Hamdan, Dragan Espenschied, Christina Varvia, and Susan Schuppli.
MoMA R&D is made possible by Allianz.
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The comments and opinions expressed in this video are those of the speakers alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#design #art #museumofmodernart #moma #museum #modernart
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Learn more about this work: moma.org/collection/works/35886
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#EdRuscha #dada #drawing #art #museumofmodernart #moma #museum #modernart
Mutu’s sculpture of a mystical hybrid being evokes feelings of hope and protection— and inspires new creative expression.
Through super8 footage and home videos, this filmmaker mines his personal memories to ask, “Artists are always responding to what's happening in the world, but how do we respond in a way that's engaging folks and not alienating them?”
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#afrofuturism #super8 #WangechiMutu #africandiaspora #art #museumofmodernart #moma #museum #modernart
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#marymiss #architecture #ecology #landscapedesign #art #feminism #museumofmodernart #moma #museum #modernart
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#anamendieta #earthwork #siluetas #art #museumofmodernart #moma #museum #modernart
Works referenced:
Georgia O'Keeffe. "Evening Star No. III." 1917
Georgia O'Keeffe. "Train at Night in the Desert." 1916
Romare Bearden. "Untitled (Brenda)." 1984
Paul Cézanne. "Mont Sainte-Victoire." 1902–06
Marlene Dumas. "Chlorosis (Love sick)." 1994
0:00: Introduction
0:54: Tube paints
01:12: "Wet on wet" technique
01:49: Georgia O'Keeffe's watercolor
04:32: Pan paints
05:59: Still life with drier approach
07:49: Types of brushes
9:38: Cézanne watercolor
11:19: Incorporating "wet on wet"
11:53: Fine line work
12:25: Georgia O'Keeffe's watercolor
13:51: Finishing
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#watercolor #watercolortutorial #watercolorpainting #howtowatercolor #paintingtutorial #stilllife #art #museumofmodernart #moma #museum #modernart
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#rainbowflag #prideflag #pride #lgbtqia #queerhistory #pridemonth #art #museumofmodernart #moma #museum #modernart
These are some of the questions we will ask: Who decides what ”good” is? What does it mean to “do good”? How is it evaluated and measured? How have conceptions of good changed across time and place? What, if anything, has remained consistent? Who is in the position to do good? Who has the obligation to do it? To what degree is the sense of good innate versus learned? How much variation exists from person to person? Given the impossibility of a universal good, how encompassing can it get? Can there be an act of good that transcends class, race, age, species, or beyond?
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 42.
MoMA Research & Development provides information and critical tools to identify and explore new directions and opportunities for MoMA and the broader museum field. Learn more: http://momarnd.moma.org/salons/.
MoMA R&D is made possible by Allianz.
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#design #art #museumofmodernart #moma #museum #modernart
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#malcolmx #melvinedwards #welding #art #museumofmodernart #moma #museum #modernart
Rosângela Rennó’s Wedding Landscape (1996) is made up of layers of large sheets of plexiglass, to which the artist glued strips of negatives she retrieved from a wedding photography studio in Havana in 1994. Before the work went on view in Chosen Memories, a survey of Latin American contemporary art currently on view at MoMA, our photography conservators made a routine assessment of the work’s condition. What they found—and the best way to treat it—turned out to be anything but routine.
“Materials of film are generally held in an archive. So they’re typically not put on display,” explains Craig Kamrath, a photography conservation fellow, “But in this instance, the film is what you’re there to look at, these strips of negatives.”
Photography conservator Lee Ann Daffner was baffled: “When I first saw this work, I didn’t know what to think, because we had so many questions.” For one, there was a white, powdery substance appearing throughout the layers of plexiglass. Was it mold, or the dreaded “plexi disease” that can occur when a piece of plexiglass abrades, or something else? Daffner and Kamrath worked with conservation scientist Catherine H. Stephens and conservation science fellow Kyna Biggs to take samples and analyze them. But then another problem presented itself: these negatives, made of cellulose acetate, have a limited shelf life before they begin degrading. Thorough detective work needed to be done to determine the age of the negatives and how much acetic acid they were off-gassing, a sign of their decay. And was the plexiglass helping or hurting their condition?
“We’re right on the doorstep with this artwork,” Kamrath said. The discoveries are constantly unfolding in our latest episode of Conservation Stories.
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#photography #conservation #behindthescenes #latinamericanart #museumofmodernart #moma #museum #modernart
CORRECTION: At 3:30 the correct attribution for the artwork is: "Sun&Sea" by Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė.
The evening will commence with a brief introduction by Paola Antonelli, followed by equally brief presentations by – here in alphabetical order:
Jane Coaston: was the host of “The Argument” podcast, a politics reporter at Vox, among other accomplishments, and is now an opinion writer for the New York Times.
Aimee Meredith Cox: is a critical ethnographer, writer, movement artist, and Associate Professor of Anthropology at NYU.
Joan Kee: is a professor in the History of Art at the University of Michigan and a current Ford Scholar at the Museum of Modern Art.
Jaamil Olawale Kosoko is a multi-spirited Nigerian American author, performance artist, and curator of Yoruba and Natchez descent originally from Detroit, MI.
Richard Sennett: is an esteemed sociologist and author who currently serves as Senior Advisor to the United Nations on its Program on Climate Change and Cities.
Barbara Tannenbaum: is the Distinguished Senior Lecturer in Theatre Arts and Performance Studies at Brown University, where she teaches a course in Persuasive Communication.
The presentations will be accompanied by the screening of a series of short videos cut specifically for Salon 41.
MoMA Research & Development provides information and critical tools to identify and explore new directions and opportunities for MoMA and the broader museum field. Learn more: http://momarnd.moma.org/salons/.
MoMA R&D is made possible by Allianz.
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The comments and opinions expressed in this video are those of the speakers alone, and do not represent the views of The Museum of Modern Art, its personnel, or any artist.
#performance #design #art #museumofmodernart #moma #museum #modernart
In the online edition of MoMA’s ArtSpeaks program, we invite staff members, artists, and special guests to share personal impressions of an artwork in the galleries.
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#sustainability #earthday #earthmonth #art #museumofmodernart #moma #museum #modernart
00:00 Intro to collage
01:26 Sourcing imagery
02:41 Cutting techniques
06:12 Choosing a support
07:33 Composition and cutting
13:46 Pasting and adhesives
17:09 Finishing and incorporating drawing
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Learn more about the techniques and artists in this video:
Collage: moma.org/collection/terms/collage
Romare Bearden: moma.org/artists/412
Hannah Höch: moma.org/artists/2675
Georges Braque: moma.org/artists/744
Juan Gris: moma.org/artists/2349
Howardena Pindell: moma.org/artists/4625
Anne Ryan: moma.org/artists/5097
Carmen Winant: moma.org/artists/68674
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#howto #collage #tutorial #art #museumofmodernart #moma #museum #modernart #demonstration
"The aquarium is a dark magic box that would have power—theatrical impact, emotional experience," says Peter Chermayeff, "and that could be immersive or that would surround you and make you feel you were in a world underwater. An aquatic museum."
The Giant Ocean Tank occupied the building’s center; it was surrounded by a series of concrete columns that acted as a supporting structure. The columns were bound to a spiral ramp, which created a compression ring to hold the massive volume of water. Spaced about five feet apart, towering glass windows formed niches that gave visitors the sensation of having a private viewing space. Illuminated with dim lighting, the Giant Ocean Tank orchestrates an experience of transporting a visitor to a magical world.
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#aquarium #newenglandaquarium #architecture #environment #art #museumofmodernart #moma #museum #modernart
"What really struck me was Matisse’s journey from mastering all the academic skills to unlearning everything to create his own art," Kim says. "He really tried to dig into and explore the fundamental elements, like forms and colors. He was looking into something more essential to create something pure. I needed to follow that path."
In the online edition of MoMA’s ArtSpeaks program, we invite staff members, artists, and special guests to share personal impressions of an artwork in the galleries. Here, curator Eana Kim examines Matisse’s iconic expression of pleasure and joy.
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#matisse #art #museumofmodernart #moma #museum #modernart
“I think we are at a crucial inflection point right now,” says Kate Crawford, professor, artist, and author of "Atlas of AI." “I've been calling it the generative turn. It's a moment where what we previously understood as how everything from illustration to film directing to publishing works is all
about to change very rapidly.”
Trevor Paglen has been mining data sets that are used to train the machine learning systems that surveil our daily lives. He investigates the dangerous oversimplification inherent to these processes and the ethics of the intentions behind them. “Artists, what we bring to the party is thousands…of years of thinking about what the hell an image is,” he says. “The kind of engineering computer science tradition does not have that. This is a place where artists are bringing voices to the conversation that I think are quite urgent.”
It’s in that spirit that Refik Anadol sees AI as a tool available to artists. His interest is in machine learning algorithms that aren’t strictly monitored by humans. For Unsupervised, he asked how a machine, if it had only MoMA’s collection data for knowledge, would parse the history of modern art on its own. And, as an autodidact, what kind of art would it create?
These three prescient thinkers are joined by curators Paola Antonelli and Michelle Kuo, who give historical context to the existential questions at play in this emerging landscape and share insights
into where art might bring AI next.
00:00 How artists respond to recent breakthroughs in AI
02:11 When AI becomes the the artist
05:26 How we train AI: ethical implications
08:51 The conceptual limits of machine learning systems
10:09 Art history lesson (the fear of technology is not new)
12:18 Where can artists take AI next?
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#aiart #artificialintelligence #machinelearning #ai #art #museumofmodernart #moma #museum
#modernart
In 1965 Stan VanDerBeek built his extraordinary "Movie-Drome": a spherical dome structure in which viewers could walk or sit or lie down while high-speed overlapping projections flooded the interior, enveloping viewers in a cascade of images of overwhelming "visual velocity," as the artist called it.
See the piece reconstructed at full scale for the first time in #signals: How Video Transformed the World, a major exhibition bringing together over six decades of media work from the #MoMACollection, opening March 5.
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#art #museumofmodernart #moma #museum #modernart #StanVanDerBeek #videoart #mediaart #signals #behindthescenes #timelapse
In the online edition of MoMA’s ArtSpeaks program, we invite staff members, artists, and special guests to share personal impressions of an artwork in the galleries. Explore our collection work by work as we release a new video each month.
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#mingsmith #ralphellison #invisibleman #art #museumofmodernart #moma #museum #modernart
In MoMA’s ArtSpeaks program, we invite staff members, artists, and special guests to share personal impressions of an artwork in the galleries.
Explore our collection work by work as we release a new video each month. Watch the videos and then come visit the works in person at MoMA!
You can also hear more about this work with MoMA audio.
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#art #museumofmodernart #moma #museum #modernart #fridakahlo #fashionhistory #selfportraits
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#artforall #museumofmodernart #moma #girlswhocode #SimCity
As Connelly and Leong emphasize, “The role of the architect is to help facilitate these visions rather than impose a vision upon a place.” With no distinction between architecture and environment in native Hawaiian culture, “you might even think of the entire island as architecture—the greatest building you can ever imagine.”
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#art #museumofmodernart #moma #museum #modernart
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#WangechiMutu #museumofmodernart #moma #museum #modernart